The Natural Hair Movement is changing how women of colour make sense of their hair and what they do with their hair. By encouraging women of colour to embrace the natural - afro, kinky or curly - texture of their hair, the Natural Hair Movement produces social representations of natural hair that reproduce, challenge and transform prevailing social representations of Black hair. Using the Natural Hair Movement as a starting point, this social psychological study draws on hair as a window through which to explore the bi-directional relationship between women of colour in England and Germany and their social world as the site of meaning making and identity construction. The theoretical framework underpinning this study is informed by social representations theory as well as Mead's work on the formation of the self and Honneth's theory of the struggle for recognition. However, as a study interested in women of colour in England and Germany, this project is also deeply grounded in the Black feminist thought literature. In researching social representations and identities, this study has taken a multi-method approach that involves photography, ethnographic observations at hair salons and hair events, as well as interviews with women, hair dressers, bloggers and other experts in England and Germany. Data collected in this way were triangulated and analysed according to the principle of thematic analysis as outlined by Braun and Clarke (2006). Moreover, a geospatial analysis of social media data was performed to study the spread and growth of the Natural Hair Movement on a global scale. As a whole, this thesis offers us a way to understand how representations are dialogically re/produced and signified by and on the body. Moreover, it demonstrates how women of colour's identities and sense of self are negotiated, expressed, embodied and performed in and through hair textures and styles. Taken together, these findings allow us to complicate and refine existing theories and provide new avenues for social psychological research to engage with the global challenges and social issues of today.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2017-09-28T12:49:14Z No. of bitstreams: 1 Maria Aparecida Ferreira Barbosa Fernandes_.pdf: 1065903 bytes, checksum: b796cb3e882e5f873df8fb447a3a10bb (MD5) / Made available in DSpace on 2017-09-28T12:49:14Z (GMT). No. of bitstreams: 1 Maria Aparecida Ferreira Barbosa Fernandes_.pdf: 1065903 bytes, checksum: b796cb3e882e5f873df8fb447a3a10bb (MD5) Previous issue date: 2017-04-03 / Nenhuma / Esta pesquisa destaca o processo de identidade afrodescendente, no bojo do processo educacional formal, partindo da seguinte pergunta, como se processa a construção da identidade do afrodescendente numa perspectiva de pertencimento multicultural no contexto social de Roraima? E para responder a essa questão, necessitou analisar os mecanismos existentes referente à política do branqueamento e suas interferências nos processos de identidade dos afrodescendentes numa perspectiva de pertencimento multicultural em Boa Vista-Roraima. Em que o referido estudo tem como aportes teóricos Antonio Gramsci, Florestan Fernandes, Kabengele Munanga, Stuart Hall, José Ivo Follmann, Néstor García Canclini e Zygmunt Bauman. Mediante a análise dos documentos e as falas dos participantes nas instituições envolvidas na pesquisa, foi constatado nesse sentido que o ambiente educacional escolar, ressalta as representações simbólicas e conceitos construídos socialmente representados por meio dos signos e da linguagem, a identidade e as diferenças afrodescendentes no contexto temporal em Boa Vista/Roraima, contidas nas relações sociais, que ainda tenta prevalecer a hegemonia branca. / This research highlights the process of Afrodescendant identity, within the framework of the formal educational process, starting from the following question, how does the construction of Afrodescendant identity in a perspective of multicultural belonging in the social context of Roraima take place? In order to answer this question, it was necessary to analyze the existing mechanisms regarding the money laundering policy and its interference in the identity processes of Afro-descendants in a perspective of multicultural belonging in Boa Vista-Roraima. In this study, Antonio Gramsci, Florestan Fernandes, Kabengele Munanga, Stuart Hall, José Ivo Follmann, Néstor García Canclini and Zygmunt Bauman are the theoretical contributions. Through the analysis of the documents and the speeches of the participants in the institutions involved in the research, it was found in this sense that the school educational environment emphasizes the symbolic representations and socially constructed concepts represented through signs and language, the identity and the Afrodescendent differences in the Temporal context in Boa Vista / Roraima, contained in social relations, which still tries to prevail white hegemony.

Made available in DSpace on 2016-04-27T19:31:07Z (GMT). No. of bitstreams: 1 Rafaela Capelossa Nacked.pdf: 985446 bytes, checksum: 9f91c44e9c43d567977d8135169be100 (MD5) Previous issue date: 2015-05-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aims to investigate the poetics of blackness and this anti-racism in the lyrics of Gilberto Gil songs recorded between 1972 and 1985. The focus of this research explores the political dimension of Gil songs, his role as political and artistic militancy at Movimento Negro Unificado, the Blocos afro-carnavalescos from Salvador, afoxé Filhos de Gandhy and Candomblé, articulating artistic subjectivity, artistic work as well as the racial identity politics that were at stake in this effervescent historic moment throughout the Black Atlantic. Its purpose is to contribute to cultural studies and representations, supporting studies and actions based on the role of music in subjectivity and emancipation historically racialized populations / Este trabalho de investigação tem como objetivo desvelar a poética da negritude e do antirracismo presente nas letras das músicas de Gilberto Gil gravadas entre 1972 e 1985. O foco da pesquisa explora a dimensão política das canções de Gil, seu papel como militância artística e política junto ao Movimento Negro, os blocos afro-carnavalescos de Salvador, o Filhos de Gandhy e o candomblé, articulando obra e subjetividade do artista, bem como as políticas raciais da identidade que estavam em jogo neste momento histórico efervescente em todo o Atlântico Negro. Sua finalidade é contribuir para os estudos culturais e das representações, subsidiando estudos e ações pautadas no papel da música na subjetividade e na emancipação de populações historicamente racializadas

Magister Artium - MA / This thesis is an exploration and analysis of the ways in which we might use varying forms of Black thought, theory, and art to think Blackness anew. For this purpose I work with electronic music from Nigeria and Detroit between 1976 and 1993, as well as with works of science fiction by W.E.B. Du Bois, Samuel Delany, Ralph Ellison, and Octavia Butler. Through a conceptual framework provided by theorists such as Fred Moten and Kodwo Eshun and the philosophical work of Afrofuturists like Delany, Ellison, Butler, and Du Bois, I explore the outer limits of what is possible when doing away with a canon of philosophy that predetermines our thinking of Blackness. This exploration also takes me to the possible depths of what this disavowal of a canon might mean and how we work with sound, the aural, and the sonic in rethinking the figuring of Blackness. This thesis is also be woven together by the theory of the Black Radical Tradition – following Cedric Robinson and Fred Moten specifically. At the centre of this thesis, and radiating outwards, is the assertion that a set of texts developed for a University of the West – Occidental philosophy as I refer to it in the thesis – is wholly insufficient in attempting to become attuned to the possibilities of Blackness. The thesis, finally, is a critique of ethnomusicology and its necessity for a native object, as well as sound studies, which fails to conceptualise any semblance of Black noise.

Racialization, Representation, and Resistance: Black Visual Artists and the Production of Alterity queries the relationship between Black visual representation and Black social and cultural politics. For the past two centuries Black visual artists throughout the African Diaspora have painted, sculpted, and filmed images of blackness inspired, funded, and otherwise supported by progressive patrons and institutions. Largely produced outside of mainstream art worlds, these visual representations focused on Black social and cultural politics and Black alterity more than mainstream tastes or stereotypes. As the coherence of Black social and political movements and resources declined in the late twentieth century, however, commercialization and the mainstream art world had increasing influence on Black visual culture. These changes created intense resistance and debate about the politics of visual representation throughout the Black Atlantic, particularly in the United States, Cuba, and the United Kingdom. Ethnographic observations, interviews, and gallery talks with artists in these three nations, including John Yancey, Vicky Meek, Marcus Akinlana, Kara Walker, Michael Ray Charles, Gloria Rolando, Anissa Cockings, and Andrew Sinclair, along with cultural and historical comparisons, provide fresh insight into the relationship between Black visual representation and contemporary Black social and cultural politics. / text

178f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-08T17:14:08Z No. of bitstreams: 1 tese_Armando Almeida.pdf: 766280 bytes, checksum: ea227540e6b4cbd063be9f2772a11e05 (MD5) / Rejected by Alda Lima da Silva(sivalda@ufba.br), reason: É necessário rever no resumo a grafia e os espaços entre palavras. on 2013-05-08T18:33:22Z (GMT) / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-09T16:43:44Z No. of bitstreams: 1 tese_Armando Almeida.pdf: 766280 bytes, checksum: ea227540e6b4cbd063be9f2772a11e05 (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-10T16:48:22Z (GMT) No. of bitstreams: 1 tese_Armando Almeida.pdf: 766280 bytes, checksum: ea227540e6b4cbd063be9f2772a11e05 (MD5) / Made available in DSpace on 2013-05-10T16:48:22Z (GMT). No. of bitstreams: 1 tese_Armando Almeida.pdf: 766280 bytes, checksum: ea227540e6b4cbd063be9f2772a11e05 (MD5) Previous issue date: 2010 / Esta tese busca estudar a relação entre o anti-racismo que surge com a criação do bloco afro Ilê Aiyê e o contexto político cultural do Ocidente na época. Costuma-se localizar a origem de muitos movimentos sociais contemporâneos no final dos anos 60. Naqueles anos, no Ocidente mais urbanizado e mais midiaticamente conectado, a cultura invade a política, levando para esse território questões de gênero, sexo, de liberdades individuais, ambientais e de raça, entre outras. Questões que não se resovem sem uma atitude que vá alem da luta de classes e das questões econômicas. Na primeira metade dos anos 70, assiste-se na Bahia, com o surgimento do Ilê Aiyê, ao nascimento de uma ação anti-racista marcada por identidades construídas com base em princípios e valores postos em evidência a partir da contracultura e inspirados, sobretudo, pela noção norte-americana do black is beautiful e do Black Power, embalados pelo soul music e dentro do espírito libertário daqueles anos. Os jovens que levaram o Ilê para a rua - em plena época da ditadura militar brasileira - ressignificaram a negritude contemporânea em Salvador e seu Recôncavo, e atigiram uma base central do recismo: desmontaram, como nunca, o conceito eurocêntrico de beleza. Este foi o grande diferencial do Ilê Aiyê no compo da política. A nova estética, proposta por ele, atinge frontalmente os fundamentos do racismo institucionalizado, atributo culturalmente construído e também internalizado pelo negromestiço. Sua eficácia está no foco: o Ilê atua sobre o campo da negociação simbólica, onde os valores são sedimentados e onde se determina o lugar que ocupamos no mundo. Para entender-se melhor esta questão, alem dos estudos multidisciplinares que o assunto exige, buscou-se reconstruir um pouco da trama sociocultural e do contexto em que se enredavam os atores do processo antes deles colocarem, literalmente, o bloco na rua. / Salvador

The objective of this dissertation is to analyse the processes of black or Afrobolivian identity formation in the Afrobolivian community of Tocaña, by examining the meshwork of relations that constitute the fluxes of material blacknesses. The concept of material blacknesses, which I aim to trace, emerges from the use of the concept of “materials” as coined by Tim Ingold. To achieve this aim, I have conducted ethnographic research that employs participant observation as a fundamental tool. My ethnographic approach aims to fully acknowledge the ways in which I have been affected by my experiences with the Tocañeros. In addition, it is an auto-reflexive ontography that blurs the dichotomy of researcher/researched. Lastly, it reflects the concept of anexactness as described by Deleuze, which implies both academic rigor and intentional inexactness. Finally, the theoretical framework revolves around three analytical categories: material blacknesses, alteration of the logic of inversion and the radicalization of alterity. These concepts were generated based on the lived experiences of the community of Tocaña, and are in horizontal dialogue with realist and postcolonial epistemologies. It is through this dialogue, and based on the ontological turn in the social sciences, that this dissertation aims to contribute to the debate about blackness. / El objetivo de esta investigación es, partiendo del proceso de aprendizaje y vivencia con los Tocañeros, analizar los procesos de constitución identitaria negra entre los pobladores de la Comunidad Afroboliviana de Tocaña a través de la malla (Ingold, 2011a, 63) de relaciones que constituyen los flujos de negritudes materiales. El concepto de flujos de negritudes materiales, a las cuales tengo como objetivo seguir, emergen del concepto de “materiales” acuñado por Tim Ingold. Para cumplir con este objetivo realicé un trabajo etnográfico que emplea como técnica fundante a la observación participante. Asimismo, el enfoque etnográfico aquí empleado se ve guiado por los afectos generados durante mis vivencias con los Tocañeros. Otra de las características de este trabajo es el uso del enfoque ontográfíco auto-reflexiva, el cual difumina las fronteras entre la dicotomía investigador/investigados. Una última particularidad es la anexactitud, concepto deleuziano que denota tanto rigurosidad académica como una inexactitud intencional. Finalmente, el universo teórico se centrará en tres categorías analíticas: negritudes materiales, alteración de la lógica de la inversión y la radicalización de la alteridad. Estos conceptos, generados a partir de las vivencias con la comunidad Tocañera, dialoga horizontalmente con los enfoques epistemológicos realistas, y poscoloniales. Es a través de esta relación dialógica, y partiendo desde el ámbito del giro ontológico de las ciencias sociales, que se tiene como objetivo aportar al debate sobre negritud.

En este trabajo el autor examina el legado teológico cristiano de los africanos y sus descendientes en América. En el primer capítulo elabora una síntesis del origen de los afronegros que remonta a los albores de la humanidad, pasa por la civilización egipcia, revisa los registros de antiguos viajes de africanos a América e interpreta las teorías que definen las razones de la esclavitud negra en América. En los dos capítulos siguientes el autor traza una línea cronológica de los eventos, circunstancias y discursos que manifiestan la autonomía interpretativa cristiana de los afro-negros en América. / The author on this work examines the Christian theological legacy of the Africans and their descendants in America. In the first chapter he makes a synthesis of the Afro-blacks origin that goes back to the beginning of Mankind, goes through the Egyptian Civilization, revises the records about the journeys of Africans to America in the past, and interprets the theories that define the reasons of the black slavery in America. In the two following chapters, the author draws a chronological line regarding the events, the circumstances, and the discourses that show the Afro-blacks Christian interpretative autonomy in America.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study covers the hair of black women in the city of Santa Maria / RS as a diacritical mark of blackness. It is an ethnographic study in two environments: the Angelita‟s beauty saloon and the Treze de Maio Museum, the first prevail straightened hair and the second the curly hair. The work is mainly aimed to analyze the different meanings the different ways of african hair manipulation: smoothing, relaxing, African permanent hair extensions, Nago braids and natural curly. Through this research it is clear that such a choice is linked to the multiple identities and social environments experienced by these women: The Treze de Maio museum, the Carnival, the "ballads", and feasts. In the first case it was found that women undergo a "ritual of afrianization and especially in the latter case, largely, there is a lessening of blackness. Are also taken representations associated with that choice such as good looks for work and loving relationships. It was also found that the generation is an important variable to understand the choice determined by capillary handling, for older women undergo a major face to use your natural hair and, on the other hand, for younger, makes it easier for assumed it. The fact that younger women are more open to take its natural curly is because of experiencing a moment of appreciation of blackness. This process can be understood by the performance of black activist movements, re-africanization process and exaltation of the African "roots", by affirmative action policies, among other elements. / O presente estudo aborda o cabelo da mulher negra na cidade de Santa Maria/RS como um sinal diacrítico de negritude. Trata-se de um estudo etnográfico realizado em dois ambientes: o salão da Angelita e o Museu Treze de Maio. No primeiro prevalecem os cabelos alisados e nosegundo os crespos. O trabalho tem como objetivo central analisar os diferentes significados atribuídos às distintas maneiras de manipulação do cabelo afro: alisamento, relaxamento, permanente afro, mega hair, tranças nagô e os crespos naturais. Por meio desta pesquisa percebeu-se que tal escolha está ligada às múltiplas identidades e ambientes de sociabilidade vivenciados por essas mulheres: o Museu Treze de Maio, o Carnaval, as baladas , e as festas solenes. No primeiro caso foi verificado que as mulheres passam por um ritual de africanização e, sobretudo, no último caso em grande parte há uma atenuação da negritude. São também levadas representações associadas a essa escolha, como por exemplo, a boa aparência para o trabalho e os relacionamentos amorosos. Também se verificou que a geração é uma variável importante para entender a escolha por determinada manipulação capilar, pois as mulheres mais velhas passam por um enfrentamento maior para utilizar o seu cabelo natural e, em contrapartida, para as mais novas há uma maior facilidade em assumi-lo. O fato das mulheres mais novas estarem mais abertas a assumirem seus crespos naturais deve-se ao fato de vivenciarem um momento de valorização da negritude. Tal processo pode ser entendido pela atuação dos movimentos ativistas negros, pelo processo de reafricanização e exaltação das raízes africanas, pelas políticas de ações afirmativas, dentre outros elementos.

The objective of this dissertation is to analyse the processes of black or Afrobolivian identity formation in the Afrobolivian community of Tocaña, by examining the meshwork of relations that constitute the fluxes of material blacknesses. The concept of material blacknesses, which I aim to trace, emerges from the use of the concept of “materials” as coined by Tim Ingold. To achieve this aim, I have conducted ethnographic research that employs participant observation as a fundamental tool. My ethnographic approach aims to fully acknowledge the ways in which I have been affected by my experiences with the Tocañeros. In addition, it is an auto-reflexive ontography that blurs the dichotomy of researcher/researched. Lastly, it reflects the concept of anexactness as described by Deleuze, which implies both academic rigor and intentional inexactness. Finally, the theoretical framework revolves around three analytical categories: material blacknesses, alteration of the logic of inversion and the radicalization of alterity. These concepts were generated based on the lived experiences of the community of Tocaña, and are in horizontal dialogue with realist and postcolonial epistemologies. It is through this dialogue, and based on the ontological turn in the social sciences, that this dissertation aims to contribute to the debate about blackness. / El objetivo de esta investigación es, partiendo del proceso de aprendizaje y vivencia con los Tocañeros, analizar los procesos de constitución identitaria negra entre los pobladores de la Comunidad Afroboliviana de Tocaña a través de la malla (Ingold, 2011a, 63) de relaciones que constituyen los flujos de negritudes materiales. El concepto de flujos de negritudes materiales, a las cuales tengo como objetivo seguir, emergen del concepto de “materiales” acuñado por Tim Ingold. Para cumplir con este objetivo realicé un trabajo etnográfico que emplea como técnica fundante a la observación participante. Asimismo, el enfoque etnográfico aquí empleado se ve guiado por los afectos generados durante mis vivencias con los Tocañeros. Otra de las características de este trabajo es el uso del enfoque ontográfíco auto-reflexiva, el cual difumina las fronteras entre la dicotomía investigador/investigados. Una última particularidad es la anexactitud, concepto deleuziano que denota tanto rigurosidad académica como una inexactitud intencional. Finalmente, el universo teórico se centrará en tres categorías analíticas: negritudes materiales, alteración de la lógica de la inversión y la radicalización de la alteridad. Estos conceptos, generados a partir de las vivencias con la comunidad Tocañera, dialoga horizontalmente con los enfoques epistemológicos realistas, y poscoloniales. Es a través de esta relación dialógica, y partiendo desde el ámbito del giro ontológico de las ciencias sociales, que se tiene como objetivo aportar al debate sobre negritud.